Samurai anime are par for the coursein the medium, be they tales of wandering ronin or romanticized chronicles of the wars of Japanese history, but few are as spectacular asSengoku Basara. This absurdly colorful adaptation of the popular Capcom series of the same name represents quite an era in Production I.G.’s history, but does it deserve more love?
The first season aired in 2009, directed by Itsurou Kawasaki and tells a much-exaggerated tale of the Warring States period in Japan, an era where samurai battled to the death over the future of the nation. It is the loosest and most ridiculoussuperpowered depiction of the Sengoku eraone can find, and frankly, it’s quite a wild ride.
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All In Good Fun
In the midst of a war to unify all of Japan under one banner, Oda Nobunaga, Demon King of Owari, reigns as the most powerful, and those who could challenge him are busy fighting among themselves. On one side is the One-Eyed Demon of Oshu, Date Masamune, and on the other is Sanada Yukimura of the Takeda clan; two warriors who together possess the power to defeat Nobunaga.
Basarapaints such flattering and exaggerated portraits of all the era’s most prominent leaders, but primarily centers itself around Date and Sanada. The two rivals face off at the very beginning of the series and from that moment onward become obsessed with each other, with Sanada proclaiming that “there is a burning in [his] heart” for Masamune (in a totally straight way).
The series follows the two warriors and their allies through the many battles, alliances, betrayals, and conquests of the era. It all culminates in the main duo uniting - despite their differences - to defeat a greater evil. First, it’s Oda Nobunaga, then Toyotomi Hideyoshi in Season 2. But despite the setting, this series is fairly unconcerned with the intricacies of its politics.
Basarais as bright a romanticization of heroism as one could possibly imagine, heightening every character, their legacy, and their abilities, to the point that suspension of disbelief is scarcely considered. It’s tossed out before the first drum beat byAttack on Titan composer Hiroyuki Sawanoas Date rides into battle on a horse adorned with handles like that of a modern biker gang motorcycle. Utterly ludicrous
In a lot of ways, this is good. Across both seasons and the feature film,The Last Party, the action achieves levels just a step below the scale ofDragon Ball Z. It leans into the superhuman strength of these historical icons, whose power is simply a matter of fact and not the result of any power-scaling system. Blades dance in explosions of color and as the show goes on, the choreography proves itself to be more than bursts of pretty effects animation.
It is all so… fun, but initially, it might be difficult for some to get invested in the bloodshed because of this universally fun tone - one which seems to downplay and outright cut around the loss of life associated with war.Keeping true to the video gameit’s based on, mobs of soldiers get blasted away, but with nary a drop of blood spilled.
Rival leaders like Tengen and Kenshin wage battles against each other, but also carry a deep respect for each other so friendly in appearance that the battle seems like a formality rather than a grave necessity. What this means is that the show might feel robbed of drama and tension to some viewers.
Honestly, it makes it that much more jarring when characters actually reflect on the blood on their hands later on. And yet, despite what seems like a major oversight compromising the storytelling,Sengoku Basaraworks, assuming one sticks with it for its first few episodes. Because perhaps not a flattering comparison,Basaraisa rollercoaster that gets that much more impressivethe more time one spends with it.
The Characters
And it’s not just for its spectacle, but the characters that motivate it, for as simple, melodramatic, and exaggerated as they can be. From their color schemes to the aesthetics of their kingdoms and soldiers, it’s no wonder why they make such magnetic figures for a video game series. They have to be these larger-than-life, mesmeric figures, but as the story progresses, the drama intensifies as well.
Season 2 introduces Hideyoshi and with it a steep rise in tension as established powerhouses fall at the hands of the new big bad and his cohorts.Friendships like those between Date and Kojurobecome such a big staple of the series by this point that the moment they’re challenged, it’s a shock to the system. Not to mention the pressure on Sanada to take on larger responsibilities as a leader.
While the first season was fun and allowed the characters to fill out their roles comfortably in a not-quite-black-and-white battle of ideals, the second season and the film both raise the stakes considerably. After Season 1, director Kazuya Nomura took over, and alongside series writer Yasuyuki Mutou, they challenged the status quo with drama bolstered by a consistent visual style.
The “Third” Season
It’s safe to say thatSengoku Basarawas Production I.G. during their glory days, which is not to downplay the good work they still produce,like this season’s Heavenly Delusion.Basaracame just three years afterGhost in the Shell: Stand Alone Complex, one of the most expensive TV anime of all time, and Basara was no slouch when it came to visual quality either.
But all good things come to an end, and afterThe Last Party, the series wouldn’t be seen again in animation until 2014’sEnd of Judgement, which was animated by Telecom Animation Film. In fairness,Judge Endis less of a continuation and more of an adaptation of the 2010 gameSengoku Basara 3, the story of which clashed with the events of Production I.G.’s timeline.
In I.G.’s series, Date Masamune bested Hideyoshi, thus earning the ire of Mitsunari Ishida (voiced excellently by Troy Baker), who spent the film going on a one-man mission of vengeance against Masamune. ButJudge Endfollows the plot ofBasara 3, where Ieyasu betrayed Hideyoshi, turning him and Mitsunari against one another. To its credit,it is far more dramatic.
Whereas I.G.Basara’s tone was so light as to arguably make it difficult to become invested in the tension early on,Judge Endcomes out swinging with a truly tragic premiere. In some ways, it is a boon to the story, but to fans of the original anime, the darker turn and its impact on the characters might sap some of the fun out of it, to say nothing of the dip in visual quality.
Sengoku Basara’s anime might not have ended on the highest of notes, but it is still a blast to revisit for Production I.G.’s take on the series alone. It is not a revolutionary series but remainsemblematic of a studio at its prime, during a time of seemingly boundless creative spirit in the industry. It would be a stretch to call it underrated - it’s quite appropriately regarded by those who remember it. But even if for just a brief moment, it is a war cry worth heeding.
